Abstract: The subject of this research is the modern history of development of Kazan jewelry art. The article explores the development of Kazan jewelry art in the 2000s; the creation of remarkable jewelry artworks as the models of famous architectural monument and their authors. The research material contains the iconographic sources – unique images of the jewelry art patterns, as well as testimonies of the eyewitnesses – the jewelry artists. One of the authors is the direct participant and co-author of the jewelry works under review Thus, the article employs the method of overt observation, interviewing, and source analysis. The scientific novelty is first and foremost defined by the chronological proximity of the studied period. The article introduces the previously unpublished images of the jewelry artworks under consideration, as well as the new facts on the revival of jewelry art in Kazan of post-Soviet period. Analysis is conducted on the sources of the revival of Kazan jewelry art and the peculiarities of jewelry works. The article also unveils the plotlines of the jewelry works and history behind them. The conclusion is made that the revival of jewelry art in Kazan, which was partially lost in the Soviet period, has begun only in the late 1990s – early 2000s. After the removal of a number of legislative restrictions, the jewelers were given the opportunity to experiment and create the true works of art.

Abstract: The article discusses the historical-culturological component of jewelry and precious metals in culture and living environment of the Volga Tatars. Emphasis is placed on the customs, folklore and religious aspects with mentioning on the jewelry and precious metals. Detailed description is given to the current situation and meaning of jewelry within the framework of the topic of research. The goal lies in conducting a historical-culturological overview and analysis of jewelry and precious metals in the context of spiritual culture of the Volga Tatars, which necessitates to examine the cult component of jewelry and images related to precious metals. The author also touches upon the influence of pre-Islamic and Islamic culture upon the survived artifacts. Analysis is conducted on such aspects of the Tatar culture, which indicate correlation between jewelry, spiritual heritage, and religion. The author point out the instances when jewelry reflects intangible culture in the material component of the Tatar people; as well as reveals the unique code of the Tatar culture that to one or another extent is depicted on jewelry items. The article reviews some cultural traces of the period before the Bulgars, and chronological development of the Tatar culture up to the present day under the influence of Islam.